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SUBCREATION: In J.R.R. Tolkien's contribution to Essays Presented to Charles Williams, Tolkien introduces the idea of subcreation as an artistic and theological concept. Like Milton in Paradise Lost, Tolkien sees God as allowing his lesser creations to contribute to the larger shaping of the universe. That is, humans can act as "subcreators" working under God to extend or enlarge the cosmic creation of God. On the most basic level, while God builds the universe, he leaves humans free to build their own lives within that universe, their own small contribution to the collective artwork. We can strive to create something closer to heaven on earth, or we can choose to create something closer to hell. This human choice is the most basic level of subcreation--an inescapable level separate from any artistic talent in Milton's thinking.

But Tolkien goes further than Milton in subcreation. On a more artistic level, Tolkien thought God also gives humans the opportunity to participate in creative imagination. We can design, build, or imagine our own designs and artwork. That artwork--if it is beautiful and true--can echo, enhance, mimic, or even go beyond the beauty of the natural world--thus expanding God's creation and pleasing the Creator that we imitate His activities. For Tolkien, humans had a moral and artistic duty to use their imaginations and to create fictional worlds, following the divine example. In particular, Tolkien thought writers, poets, and artists had a moral obligation to provide an "inner consistency of reality," i.e., that they must take the time to fill out the world and inhabit it--to give it a history, depth of detail, and sufficient scope for it to be a complete world where readers or viewers can lose themselves (see Duriez 191-92). Subcreators could craft their art to make it self-consistent and large enough to evoke wonder, a sense of what Tolkien calls "" or what David Sandners calls the . Just as the rational mind desires "a unified theory to explain or cover all phenomena in the universe, the imagination also seeks a unity of meaning appropriate to itself," as Duriez puts it (192). Such world-building would be a moral good, per se, regardless of any didactic teaching or moral message tacked on top of it. In this regard, Tolkien often heavily criticized C.S. Lewis's Narnian books. He felt Lewis was too focused on allegory and didacticism, and that misfocus caused the "inner consistency of reality" (Duriez 192) in his tales to suffer.

In more recent examples, in Richard Connell's short story, "The Most Dangerous Game," the reader is in suspense regarding whether or not the hero or the villainous hunter will survive as the two face off in a final battle. In Hamlet, much of the suspense arises from the protagonist's continuing procrastination--will he or won't he take up the task of killing his uncle? The more Hamlet delays, the more bodies pile up until the final climactic scene in which swordfights, poison, and invading foreign army all collide on stage practically simultaneously. Other authors might frustrate the reader's desires deliberately, as in Frank Stockton's "The Lady or the Tiger," in which a somewhat sadistic narrator describes a thought-provoking scenario. In this scenario, a young man is to be put to death. He is locked in an arena with two adjourning gates, and his young lover must decide his fate. This jealous young girl must choose whether to open a gate releasing a starving tiger into the arena from one gate, or instead open a second gate that would release a beautiful girl into the arena with him, a sexual competitor for the young man's attentions. The narrator describes at length why she might open one gate or the other, either saving her lover but throwing him in the arms of another woman, or killing her lover but blocking the advances of her rival. In the final lines, however, the narrator declares he is not a position to know what happened "historically," and thus leaves it to the reader to determine, "which came out of the open door--the lady, or the tiger?"

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There is always going to be a great deal of underage drinking and overdrinking at any college campus, whether it is being done by Greeks or non-Greeks, but the chances of being peer pressured into drinking is more likely when joining the Greek system.

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When Mississippi became a state in 1817, white settlement was confined to the Gulf Coast and the lower Mississippi Valley. There is little information on singing in this early period, but in 1831, singers at Natchez churches sang urban music printed in round notes. It was only with the Choctaw and Chickasaw cessions of the 1830s that settlers from other states brought singing schools and shape-note tunebooks, including Missouri Harmony and Southern Harmony, into the area.

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SKELTONIC VERSE: Also called tumbling verse or Skeltonics, the term refers to an irregular verse used principally by John Skelton, the tutor of young Henry VIII. Skelton disregarded the number of syllables in each line and often experimented with short lines using only two or three stresses; he emphasized the stresses by alliteration and rhyme. The example below comes from his poem, "Colin Clout":

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“ SUCCESSION MYTH: A common motif in mythology in which a regime of older gods suffers defeat and replacement--often at the hands of a younger generation of divinities. An example would be Zeus leading an uprising against his cannibal father, Kronos, in Hesiod's Theogony. Two theories to explain this very common mythological idea are, (1) because the normal human life sequence involves the young replacing the old, this cycle asserts such a powerful significance that we re-create it in our supernatural accounts; or (2) such myths are actually echoes of much older (possibly even prehistoric) cultural clashes in which a newer invading people displace an indigenous people and its older religious practices. As the invaders bring their new gods, they assimilate into their stories the older legends of the original race in the area, but depict the old gods as "falling" or being replaced by the new gods they bring. This perhaps can account for redundant deities in Greco-Roman mythology--so we might have two similar divinities appearing in a single . Examples might be the Titan Hyperion and the god Apollo (both associated with the sun), or the Titan Oceanus and the god Poseidon (both associated with the sea). ”